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David Harvey
Abstract from the Concrete (The Incidents Series)

Marxist geographer David Harvey opened his lecture with a fact: between 2011 and 2013 China consumed 50 percent more cement than the United States had in the entire twentieth century. In Abstract from the Concrete, he asks why. Spiraling outward—geographically and materially—Harvey travels from the building industry in China to the foreclosed housing market in the United States to the automobile industry in São Paolo and back again. The why emerges as a direct result of “anti-value,” of capital in crisis—intrinsic, he contends, to capital and capital cities today.

Featuring an interview with David Harvey by Mariano Gomez Luque and Daniel Ibañez

The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.

The Incidents Series is copublished with the Harvard University Graduate School of Design
Design by Åbäke

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Anne Lacaton, Jean-Philippe Vassal
Freedom of Use (The Incidents series)


Edited by Jennifer Sigler and Leah Whitman-Salkin

“Nothing in the architecture of Lacaton and Vassal is what it looks like at first glance.”
— Iñaki Ábalos, introducing Anne Lacaton and Jean-Philippe Vassal, Harvard University Graduate School of Design, March 24, 2015

Anne Lacaton and Jean-Philippe Vassal are known for an architecture that privileges inhabitants’ freedom and pleasure through generous, open designs. The Paris-based architects opened their 2015 lecture at Harvard University with a manifesto: study and create an inventory of the existing situation; densify without compressing individual space; promote user mobility, access, choice; and most importantly, never demolish. Freedom of Use reflects on these core values to present a fluid narrative of Lacaton and Vassal’s oeuvre, articulated through processes of accumulation, addition, and extension. The architects describe built and unbuilt work, from a house in Niger made of little more than branches; to the expansive Nantes School of Architecture; to a public square in Bordeaux where, after months of study, their design solution was: do nothing.

Lacaton and Vassal’s principle of doubling space is echoed in the book’s treatment of photography: black-and-white exterior shots that run alongside the text form a dialogue with corresponding full-color photographs of each interior, gathered at the end of the book.

The Incidents series is copublished with the Harvard University Graduate School of Design
Book series designed by Åbäke

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Pierre Hermé – The Architecture of Taste
Jennifer Sigler and Leah Whitman-Salkin (Eds.)


Edited by Jennifer Sigler and Leah Whitman-Salkin
With contributions by Savinien Caracostea, Pierre Hermé, Sanford Kwinter

On November 27, 2012, world-renowned pastry chef Pierre Hermé arrived at Harvard University from Paris. He brought five chefs, two assistants, 600 sheets of gelatin, 150 eggs, 68 pounds of caster sugar, 40 pounds of unsalted butter, 32 pounds of cream, 25 pounds of milk chocolate couverture, 11 pounds of grated wasabi, and the alchemic techniques to transform these ingredients into an elaborate “lecture de pâtisserie.” Together with Savinien Caracostea and Sanford Kwinter, he methodically deconstructed four conceptual desserts for 400 spectator-diners.The Architecture of Taste recaptures this night and the physiological effects of Hermé’s pastry visions.

The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.

Copublished with the Harvard University Graduate School of Design
Book series designed by Åbäke

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Pierre Hermé - The Architecture of Taste
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Marie Lund
Drums

Artist’s book designed by Åbäke, based on Danish artist Marie Lund’s first institutional solo exhibition.
Drums, which follows Marie Lund’s exhibition at Museo Marino Marini in Florence, is acutely attentive to things that aren’t present. A spectrum of materials is employed to evoke, represent, and reflect these missing objects—concrete, plasters, and acrylic glass are cast after, wrapped around, shaped along them. The act of modeling and copying is a craft, and the human imprint in such activities is intentionally betrayed: signs left by the working hands are visible. The works bears the signs of their own process through little, telling imperfections on their skin. Not unlike fossils, these works look like memory drivers.
Published on the occasion of the eponymous exhibition at Museo Marino Marini, Florence, in 2014.
Born 1976 in Hundested, Denmark, Marie Lund lives and works in London. Her work has been shown extensively, in solo shows among other at Proyectos Monclova, Mexico City, Croy Nielsen, Berlin, Laura Bartlett Gallery, London, and IMO Projects, Copenhagen, and in group shows at Museum of Contemporary Art Detroit, Sorø Kunstmuseum, Denmark, CCA Wattis, San Francisco, Cologne Kunstverein, Kunsthalle Mulhouse, etc.
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